Don't kill the Messenger

Last month marked the 50th year anniversary of Thelonious Monk's classic performance at Town Hall. To celebrate the event, Town Hall presented two nights of music paying homage to the original concert in two very different evenings.

Jason Moran presented a mixed-media concert that included never-before-heard recordings and images of Monk's rehearsals and arranging sessions. The night before, Charles Tolliver gave a note-for-note recreation of the original tentet performance. While there was some criticism regarding Tolliver's decision to attempt an exact replica of the original performance, no one can doubt that Tolliver has a deep respect and understanding for the importance of informing today's listeners of yesterday's repertoire. As modern jazz continues to evolve past 2 & 4 and flat 3s & 7s, the very term "jazz" is becoming broader and to some, more diluted. As a composer of such "fringe" or "little j" jazz, I am very much aware of the importance of remembering and respecting the roots and traditions of "big J" Jazz. This is also why I value concerts such as the Monk Town Hall Anniversary Concert and musicians like Tolliver who excel at, for lack of a better phrase, keeping the tradition alive.

So when I was asked to help prepare the music for an upcoming Art Blakey Tribute concert which was paying homage to not only Blakey and his music, but to Charles Tolliver and his commitment to continuing Blakey's legacy through an ensemble class at the New School (which was temporarily cancelled this semester due to financial cuts but causing a huge outcry from students and alumni) I was thrilled. In addition to being able to see and work with the written transcriptions and arrangements of Blakey's tunes, I was happy to get to be a part of something that emphasizes the importance of figures and repertoires like Blakey, that really inform musicians and listeners of the meaty traditions and practices of jazz, "big J." I must admit, at times here in NYC I crave hearing jazz that above all else just swings and feels good, rather than spouts intellectualism and advanced harmonic and rhythmic sophistication.

DO NOT MISINTERPRET! I am not a jazz snob or purist that feels it has to swing or employ blues notes in order to be considered jazz (which is no doubt an argument in semantics for another day). Many of my favorite bands I would term "little j" or "fringe" jazz. But I do think it becomes easy for modern musicians, in their quest to be different and to evolve, to either forget, or consider unimportant the music that came before. (Just as it is often unfair for those who feel a jazz performance must include swing and a blues to discredit the music that has strayed from the original definition simply because it does not swing, etc.).

Anyway, tangent over. The bottom line is that I am very proud and excited to be a part of this tribute to Art Blakey. In attempt to help promote the tribute, I have invited the organizer, Joseph Perez, to explain what makes this event more than a simple tribute concert and why teachers such as Charles Tolliver are so important to the education of jazz music today:

Thank you for giving me this opportunity to speak about this project. Being a former student of Mr. Charles Tolliver, I took a great interest in the news of the Art Blakey and the Jazz Messengers Ensemble class not being offered this semester at the New School. Having taken that class for seven semesters, I can speak with some authority on how classes such as this one and teachers like Mr. Tolliver can have a profound effect on a student. New York City, being the "jazz capital" that it is, holds a distinct geographical advantage in the realm of higher music education in so much that students can come from around the world to study with people that have a direct link to the foundations of the art form. There is no greater example of this kind of unique and special person as Charles Tolliver. While a relatively obscure figure to the masses, Charles Tolliver has a both impressive musical resume and has contributed to both the artistic and business aspects of jazz. He was one of the first jazz musicians to start his own record label (Strata-East) in order to release his own music free of corporate interference. He has been an influential composer both for small and large ensemble in addition to being a singular voice on the trumpet. But to many, including myself, perhaps his most lasting accomplishment will be his work in the field of jazz education and his undying and unapologetic commitment to preserving the great traditions and values of the music. Charles Tolliver, and musicians like him, bring the music to life in a way that records and transcriptions can not.

When I became aware of this semester's cancellation of Mr. Tolliver's Blakey Ensemble and witnessed the ensuing online reaction, I decided to become involved. The Blakey class had a profound effect on me, and many others and Mr. Tolliver was the reason for that. I wanted to do something to highlight and celebrate the importance of Charles Tolliver, the music of Art Blakey, and the value of their legacy to younger generations. Presenting a concert of the very repertoire that Mr. Tolliver taught in his class (in some instances, using the same charts he uses to teach and has graciously loaned to us) seemed like the perfect way to pay tribute. On Monday, March 30 we will present a night of the music of Art Blakey with support from all the aforementioned parties, including the New School, Mr. Tolliver himself, and fellow students of Mr. Tolliver who have volunteered their time and talents to perform on the concert. It is my hope that this event will not only highlight the value of Charles Tolliver and artists like him but demonstrate the necessity of continuing to teach the core traditions of jazz music, especially the music of Art Blakey and the Jazz Messengers.

A Tribute To Art Blakey will be presented on Monday, March 30 with sets at 8:00 & 10:00 PM at Sweet Rhythm. Cover is $10 with a $10 minimum/ students get in free with a $5 minimum. Musical guests scheduled to appear include Valery Ponomarev, Marcus Strickland, Keyon Harrold, E. J. Strickland, Jason Marshall, Tatum Greenblatt, Stafford Hunter, and many more.

the economic crisis yields new ways to spend one's friday night

As I sit wallowing in the fact that I can't be at this year's ComicCon, I find myself completely consumed with Coraline hype. Go to coraline.com to make yourself into your "other" (by replacing your eyes with buttons, as above), spell your name in mice, or make a flower. The website is fun and interactive, and perfect for those who can't afford Con, or even a cold one on this February night!

We get by with a little help from our friends

Mike Fahie solos on The Injustice League

Last week the Bottomless Cup Jazz Orchestra has it's debut at the Brooklyn Lyceum. It was an incredible experience to be in front of so many great musicians hearing my music played and an even greater experience to hear people say they liked what they heard. I was pleasantly surprised by how many people made it out and wanted to send a public heartfelt thank you to all of you who came with open ears and hearty applause, making the night a success.

I don't think fans realize how important their role is to musicians like myself. When one spends hours upon days upon weeks upon months writing and rewriting and revising and cleaning and printing music, sacrificing coffees with friends, blog writing, marathon training, good weather and precious hours of sleep in addition to hour upon hour of phone calls, emails, text messages, and Facebook messages to musicians and potential audience members, it can be a crushing defeat to have few attendees present to witness the fruition of all your hard work. In the beginning, when few people know you, and you are still ironing out logistical bumps and personal writing style, an emerging artist like myself can really only rely on friends and family, many who would not normally find themselves at a "jazz" or "new music" show, filling the empty chairs. I feel extremely grateful that more than the expected 3 people showed up last week. It is with their support that music like mine can continue its growth and evolution into something that can one day be enjoyed by more than just close, obliging and supportive friends.

Being a musician, much less a composer and bandleader in the jazz genre, which is a genre that continues to gray as musicians who started off as "jazzers" find themselves cross-pollinating with other genres, is a bit of a masochistic endeavor. No one really listens to jazz. Those that do are usually other jazz musicians. The definition of jazz continues to become looser and looser and in the process people are taking sides a la Heroes, and there go a few less audience members. It costs WAY more money to put on a show than what is received from your half of the door (half if you're lucky), making fan attendance crucial if in no way other than from a financial standpoint.

When looked at plainly (and a bit bitterly), a composer like myself uses all of her time to write music for an extremely minuscule pool of listeners, losing money in the process. As Darcy James Argue said in Glowing Realm's Ten Questions column, "Believe me, if it was remotely possible for me to do something other with my life than lead an 18-piece big band, I’d do that. In a heartbeat."

But what keeps us from getting dark upon our career choice are nights like last Wednesday, when expectations are exceeded and one finds herself supported by enthusiastic applause and smiles from the audience. You can't help but feel an incredible sense of gratitude, not only to your musicians who do the rehearsals and gigs for barely enough to cover that night's dinner, but to your friends, your fans, your supporters.

Speaking of Darcy and the need for support, Darcy is embarking upon a venture that most of us only dream of: a studio recording. If putting on a big band show is expensive, recording a big band album is obscene. These days its not hard for most musicians with small groups to record, many in their own homes. The home technology is amazing, unless you have upwards of 15 people in your band. So for now, until space for a large recording studio becomes a common amenity for NY apartments, big bands are stuck doing either live recordings or relying once again on those family, friends, and fans for the financial support to make a studio recording.

And all of this is contingent upon finding a record label that doesn't completely rob the artist of the money to be made off the recording. Darcy, the intrepid entrepreneur that he is, has discovered a record label that not only allows the artist to keep an initial 80% of the profits, but does not dictate the music to be recorded, as so many other labels are fond of. Darcy explains it better:

...what I like best about New Amsterdam is that the label brings together a group of artists that feels like a community without feeling like it's bound to a specific musical ideology. Beyond a basic agreement on a set of core principles that would go without saying in most circles -- "popular music is art," "embracing diverse influences is cool," "grooves feel good," "smart music can be fun" -- there's really not a definitive sound or style that you could pin down as being "the New Amsterdam thing." And while it's not exactly a "jazz" label, I feel that the kind of music I've been pursuing with Secret Society is, in a lot of ways, closer in spirit to what many NewAm artists are doing than it is to contemporary mainstream jazz.

Now, given some of my anti-record label comments on this blog in the past, some may be surprised that I am going with a label at all for our debut recording. Labels, we are told, are over. The contracts are irredeemably exploitative -- you have to give up ownership of your creative work, and these days they don't really do all that much to help you anyway. In fact, there's every chance they will seriously fuck you without your knowledge or consent. The thing to do is to put it out youself.

Well, sure. That's one way to do it -- and more power to those who do. But there is also value in being part of a movement. There's value in being associated with like-minded artists. There's value in trying to be constructive, in trying to build a mutually supportive scene. This is what New Amsterdam has set out to accomplish. And it's not just a bunch of hand-wavy crap either. Founders William Britelle, Judd Greenstein, and Sarah Kirkland Snider are all formidable composers themselves, and they are genuinely commited to fostering a mutually beneficial relationship between artist and label. Don't believe me? New Amsterdam's Arist Agreement is a publically available Google Document. You can read it right here.

Some highlights:

• You retain full ownership of all material on your album, including the master recording itself.

• Gross proceeds from album sales are split 80/20 [in the artist's favor] until artists costs are recouped, at which point the split moves permanently to 50/50.

• Proceeds, including CD sales, from live performances that are booked/presented by New Amsterdam are split 80/20 in favor of the artist. New Amsterdam gets nothing from shows that are booked/presented by the artists.

• This agreement is valid for 4 years from the release date of each record (on a record-by-record, not artist-by-artist basis). At the end of the term, both parties may agree to extend this term. If the term is not extended, New Amsterdam will no longer collect any proceeds related to the master recording.

Compare that to a typical major label contract. No, go ahead. I'll wait.

While it is incredibly exciting to find such a caring label, the reality is they are not giving away freebies. Money still has to be raised, and that is no easy task. Darcy explains further:

Last Sunday I posted in praise of New Amsterdam Records, who will be releasing our debut recording. I also posted a link to the NewAm Artist Agreement, which details, in plain English, the financial arrangement I have with them. As you can see, it is extremely artist-positive — I retain full copyright of the recording and proceeds from album sales are split 80/20 in my favor until the recording costs are recouped.

The flip side of this, however, is that the artist does not get an advance to pay for recording costs. However, since in a traditional record contract, the "advance" is often a one-way ticket to perpetual indentured servitude, the NewAm terms are ultimately much more favorable. But it does mean that the responsibility of raising the necessary capital to make the recording in the first place is 100% on the artist. And recording a big band in the studio is a crushingly expensive proposition — which is why I have avoided it thus far.

[...]

The reality is, we cannot make this album without your help.

Basically, in addition to a few monetary compensations from recent awards won, Darcy is relying solely on the generous hearts and wallets of his fans, of his supporters, to pay for the initial fee. He is taking a leap of faith that enough people out there will extend their support past filling an empty chair to filling the missing dollars needed to make this next step towards furthering the path of contemporary music.

The sad truth is, we are not the popular music. There are no talent scouts or "big breaks" to be had in our area of the musical neighborhood. When I told my dad I had a gig with my band at a venue in Brooklyn, his first question was, "Any chance some talent scouts will be there? Maybe this could be your big break!" If only the remote possibility of this were to exist! No dad, mine is not the music of talent scouts and record producers. My music and others' like it exist entirely without the padding of record advances and media hype and only on the immediate support of it's listeners. And this why extremely talented musicians like Darcy are forced to rely financially on his fan base in order to progress.

I have long since been a fan of Darcy's Secret Society. I beseech you, if you haven't checked out his music, do it. Visit his blog, MySpace, Facebook, or New Amsterdam listing, whatever floats your Internet boat, and consider donating. If you have ever read his blog or downloaded his free live recordings, consider donating. If you are interested in being a part of small things that lead to greatness, consider donating.

It's a hard time financially and you have every right to want more information before willingly handing over the few dollars that could upgrade tonight's dinner from pasta noodles in butter to pasta in olive oil with spinach salad and wine. Read his plea, listen to his music. If you don't like it, go buy that bottle of red. But if you do like what you hear, consider this: You have a a chance to be a part of something reactionary. Something that is literally taking today's artistic music to the next ground. Something that is defiant to the economic crisis put upon us by those who probably have one Wynton Marsalis CD and consider themselves culturally well rounded. Music may be getting cut from the schools to save money, but we do not have to let music die entirely!

I thank everyone who supported me in my recent pursuits; I hope you will consider supporting Darcy as well.

She ain't heavy, she's my sister

Go see my sister, Jessica L. Fenton, who is only heavy in bizarro world, play a night of original acoustic duo music at Googie's Lounge this Thursday, November 8 at 9:30. No cover, one drink minimum.

Why support this nepotism? Because this city makes it incredibly hard for good music to be supported, and her music deserves to be given a chance by those eagerly sought after fans who come to the gig purely out of musical curiosity, not because they want to sound cool recapping their weekend at the water cooler on Monday morning or harbor a sense of obligation (not that we musicians don't appreciate the support from our friends and family who are often the only patrons at our shows).

If you know anything about my music, expect to hear quite the opposite from Jessica. While I like to think it was the many hours I slaved with my alto over the Bb Blues Scale along with Jamey A. and the play-a-long crew back in high school that influenced Jessie's musicality, the real credit should be given to my mother. We grew up hearing her play the baddest folk guitar in church those catholic priests had ever heard! There's no doubt that hearing my mom play every Saturday night for the "folk" mass as well as around the house occasionally, though not nearly enough, both Jessie and I, as well as our two brothers, were given a deep sense of the functionality of music- I don't think any of us really minded going to church those Saturday nights. It was worth it to hear my mom play and her friend, Carol Hayes, who had the most beautiful voice I had ever heard, sing. While I chose the academic route, Jessica followed my mom's path, and learned to play by ear. Her music is a prime example of why knowing all the music theory in the world can not make up for having an incredible ear.

When you come on Thursday, expect to hear a slight departure from her loud, full band "alternative pop rock" sound. This set will feature Jess on acoustic guitar and Jonathon Roberts, of her band The Stairdivers, on Googie's beautiful white baby grand piano. Those familiar with her music can look forward to hearing her more popular tunes, "What were you expecting," and "Wool." I am looking forward to hearing her lesser known tunes, "Hey, It's Ok," and "Routine Continuing." Jessie is looking forward to the beautiful white baby grand.

Check out Jessica's website and myspace, and we'll see you on Thursday.

Philly Marathon

It's official! I am now registered for the Philadelphia Marathon to be ran on November 18, 2007.

I'll only be there a few days, no long trip this time, but I would like to do 1 or 2 touristy (or non-touristy) things.

Suggestions?

Where in the World Is?

I recently bought the coolest world map from Amazon. It now hangs in my office and I study it everyday in attempts to overcome "Dumb American" syndrome.

To test my recent cramming, I visited this site. Sadly, the only quiz that I achieved a 100% on was Australia, and that is due only to my Australia magnet courtesy of Nad. Damn those Aussies for only having 6 states and 2 territories!!!

Check it out and see how well you do!

The Sad Song

Fredo Viola

Unfortunately, I cannot post the video, but go here and be uplifted by this sad song.

Mary, Mary Quite Contrary

Now judge Englishmen if it be good to change Queens. Oh uniting confounding! When rude Scotland has vomited up a poison, must fine England lick it up for a restorative? Oh vile indignity! While your Queen's enemy liveth, her danger continueth. Desperate necessity will dare the uttermost...

-from A Detection of the Doings of Mary Queen of Scots, touching the murder of her husband, and her conspiracy, adultery, and pretended marriage with the Earl of Bothwell. And a defence of the true Lords, maintainers of the King's grace's action and authority.

My Heart is My Own: The Life of Mary Queen of Scots by John Guy

Read it. You'll love it.

Monk for the Masses

Some of you have no doubt seen this already, but for those of you who haven't, it's hilarious! It takes about 4 minutes to view, so if you haven't the time, skip ahead to here.

Enjoy!

The Bad Plus's Blindfold Test

In response to a request by Destination: Out! to select the best 10 jazz albums of the 1990’s, The Bad Plus decided to post on their blog, DO THE MATH, 4 mp3s from albums that did not make the cut.

Typically, I am petrified of blindfold tests. What easier way is there to make a complete fool of yourself by not recognizing someone completely obvious? At least that is the fear. After listening to the aforementioned tracks, I can safely say that only the first track sounds at all familiar to me. And by that I mean the first saxophonist. The third track is supposedly inspired by Journey’s “Don’t Stop Believing”. I find the fourth track, while unrecognizable, beautiful. But that’s all I will say.

Go listen for yourself, keep your ideas to yourself if you like, then check back (there, not here) next week for the answers!

Saint Ralph

This movie is hilarious. Especially if you grew up catholic and are a runner.

It has nothing to do with music, though musicians may find it inspiring.

Go check it out!